Old Masters (before 1870)

François Pascal Simon dit Baron GÉRARD (Rome, 1770-Paris, 1837), d’après. - Bust portrait of King Charles X. Oil on canvas. In a gilded wood and stucco frame. H. 92 x W. 74 cm. Frame: H. 105 x W. 88 cm. Related work Millon sale, "La Face des Rois", Drouot, May 25, 2023, lot 17 (sold for €28,600). History The last French king to be crowned in Reims, Charles X called on the great portraitists of the day, including Gérard, Robert Lefèvre, Guérin and Ingres, to portray him solemnly in coronation regalia. For his official portrait, he chose the one painted by Baron Gérard, who was highly sought-after at the time and particularly praised for the quality of his portraits. The artist depicts the King in majesty in one of the Tuileries galleries, turned three-quarters to the right, wearing the ermine and grand collar of the Order of the Holy Spirit, leaning on his scepter, throne and crown in the foreground. The monarch's attitude, the emphasis on the sumptuousness of the coronation costume and the symbols of royalty in the foreground are a perfect reminder of the divine right nature of the power held by the Bourbon dynasty. First painter to the King in 1817 since the triumph of his great painting "L'entrée d'Henri IV à Paris", and a leader of the French school, Baron Gérard was then at the height of his fame. He was eagerly awaited for the portrait of the sovereign, having already successfully painted those of Emperor Napoleon in 1805 and King Louis XVIII in the early years of the Restoration. It was to be expected that the official representation of successive sovereigns would be radically different, reflecting the changes of regime from Empire to Royalty, but the artist succeeded in giving each the expected majestic image, in keeping with the pictorial tradition of the great courts. This is what led the great art critic Charles Ephrussi to say that Gérard was "without too much flattery, the king of painters and the painter of kings". Presented at the Salon of 1825, the portrait of Charles X now at Versailles was a resounding success; several replicas were commissioned by the King's household, the bust copies delivered by Gérard's studio being intended primarily as royal presents. Our work, less detailed than the version sold by us in 2023 (see above), bears witness to a revival by François Gérard or possibly his workshop. Literature - Art. E. de Waresquiel. Portrait du Roi et de ses élites sous la Restauration et la Monarchie de Juillet: une contribution à l'étude des représentations du pouvoir. In Versalia, Revue de la Société des Amis de Versailles, n° 9, 2006. - Art. Lucie Lachenal. François Gérard et la critique d'art pendant la Restauration. In Actes du colloque La critique d'art de la Révolution à la Monarchie de Juillet, November 26, 2013.

Antoine Joseph Michel ROMAGNESI (1782-1852), attribué à. - Louis XVIII. Marble bust (small chips). Restoration period, circa 1814. H. 54.6 x W. 58.4 x D.28 cm Provenance Estate of Ward Gerard Gosselin, USA. History This rare and important bust of King Louis XVIII is similar to the hard porcelain example in the Louvre, made by the Paris-based factory Pouyat Frères, originally from Limoges. The Mémorial bordelais of August 4, 1814 indicates that this factory owned the bust and was the only one able to produce it. Although the bust was indeed produced by Pouyat Frères in 1814, the designer of the model remains unknown. However, a bronze bust in the Château de Blois, similar to our marble model, bears the signature of sculptor Antoine Joseph Michel Romagnesi. This sculptor, who produced numerous busts of Louis XVIII throughout his career (Le comte de Clarac, Description historique et graphique du Louvre et des Tuileries, Impr. Impériale, 1853, Paris, p.29), also presented a bust of Louis XVIII at the Salon in 1814, which attracted considerable attention, since it was thanks to this submission that the King commissioned Romagnesi to produce several busts for the Tuileries and all the royal castles. The description of this sculpture, now housed in the Musée de Troyes, once again allows us to compare it with our bust, with only minimal differences. It is a marble bust in which the king appears "bareheaded, front-on; dress coat and vest half-open, revealing the shirt adorned with a jabot; general's epaulettes surmounted by the crown of France; grand cordon of the Legion of Honor; on the left side of the habit, plaques of the orders of the Holy Spirit, the Garter and Saint Vladimir of Russia; small crosses of Saint-Louis and Charles III of Spain in the buttonhole" (Catalogue des sculptures exposés au Musée de Troyes: fondé et dirigé par la Société académique de l'Aube (3rd edition), Musée de Troyes, 1882, p. 44). All these elements link our work to the productions of Romagnesi, who probably designed the model on which Pouyat Frères based their cookie. Related works - Pouyat frères, Buste de Louis XVIII, 1814, porcelain, Musée du Louvre, inv. OA 11811 (ill. 1). - Antoine Joseph Michel Romagnesi (sculptor), Deniere et Matelin (foundry), Buste de Louis XVIII, bronze, Château de Blois, inv. 861.183.1 (ill. 2). - Antoine Joseph Michel Romagnesi, Buste de Louis XVIII, 1814, marble, Musée de Troyes, inv. 849.1. Literature - Albert Babeau, Catalogue des sculptures exposées au Musée de Troyes: fondé et dirigé par la Société académique de l'Aube (3rd edition), Musée de Troyes, 1882, p. 44. - Le comte de Clarac, Description historique et graphique du Louvre et des Tuileries, Impr. Impériale, 1853, Paris, p. 29. - M. Vergnaud Romagnesi, Biographie de M. Romagnesi Aîné, sculpteur à Paris et membre correspondant de la société, in Mémoires de la Société royale des sciences, belles-lettres et arts d'Orléans, Académie d'Orléans, 1852, Orléans, p. 278. - Le Mémorial bordelais, August 4, 1814, p. 2.

Antoine-François CALLET (1741-1823) et son atelier. - Portrait of Charles-Philippe de France, Monsieur, comte d'Artois, lieutenant-general of the Kingdom, in the uniform of colonel-general of the Gardes Nationales. Oil on canvas (restorations). Handwritten inventory label on back "N° 509". H. 52 x W. 39 cm. In a gilded wooden moulding most probably taken from a paneled room, captioned at the bottom with the names of the kings of France, from Henri IV to Louis XVII. History Our tableautin, executed quickly and nervously, is almost certainly the modello for a monumental portrait painted by Callet in the early days of the Restoration (current location unknown), in which Charles Philippe de France, Monsieur, Comte d'Artois, is depicted wearing the uniform of Colonel General of the Gardes Nationales. The artist, who at the time called himself "Peintre du Roi et de S.A.R. Monsieur" (Painter to the King and His Royal Highness Monsieur), also wished to evoke the prince's rank as Colonel General of the Carabinieri, by the presence of a Carabinieri cuirass in the lower right-hand corner. In March 1816, through the press (Moniteur Universel, March 8, 1816; Journal de Paris, March 14, 1816), the artist launched a subscription to have the portrait engraved by Jean Massard (1740-1822), and referred to the portrait as "honored by the suffrage of S.A.R. and several distinguished persons", "publicly exhibited at various times" and "dedicated to the French National Guard". He specifies that he is responding "to the solicitation of several National Guards of the Kingdom" "who expressed the desire to have the portrait of their august colonel-general, so universally cherished". A copy of this engraving (BnF, RESERVE QB-370 (76)-FT 4) bears a handwritten date of "November 20, 1816", the date on which the engraving was most certainly published. It is interesting to note the differences between the engraving and our painting: the cuirass has disappeared, as has the gold embroidery with the scale motif (present between the two columns). The model of the seat has changed, as have the color of the prince's gloves and his head carriage, which is turned more to the right in the engraving. The painter's genuine sympathy for the royal family, whom he had known well before the Revolution, was further echoed in the Journal des Débats, dated May 11, 1814, which informed the public that "we have already been able to place in the grand appartemens of the Tuileries, a full-length portrait of S[a].M[ajesté], dressed in her royal clothes, the work of M. Callet, former painter to the King and to Monsieur's cabinet. This artist had carefully preserved his sketches and several portraits of Monsieur, which put him ahead of all his colleagues on this occasion." Lot presented with Mr. Pierre-Antoine MARTENET, expert. H: 52 x W: 38.5 cm

A. RAVINET (active in the 19th century) Still life with lilacs. Oil on canvas, signed lower left. H_81.5 cm W_59.5 cm

ECOLE FLAMANDE du XVIIe - 17th century FLEMISH SCHOOL - Surroundings of Joris VAN SON (1623-1667) "Still life with Chinese cup". Oil on canvas, seen by Cabinet Turquin in Paris (label on back) Provenance: Belgian private collection Size: 67 x 82 cm

" Portrait d'une dame" - French school of the 19th century. "Portrait of a Lady" Oil on canvas, unsigned. Minor tears and old restorations. Nice period frame with small accidents. France, circa 1840. Dimensions: 100 cm x 78 cm

EXCEPTIONNELLE PAIRE DE JUMELLES DE THÉ TRE AU CHIFFRE DE L'IMPÉRATRICE MARIE-LOUISE, DUCHESSE DE PARME - A pair of gilded brass and tortoise shell binoculars or theater glasses with a semiset of pink gold stars alternating with mother-of-pearl polka dots, and folding tortoise shell handles decorated in succession; signed on the eye ring "Lemière, breveté du Roi, Palais royal n°6" and numbered "73" on the throat. Preserved in its original red morocco case with gilded decoration imitating a theater scene, with curtain flaps at the top and a suite of dancers holding a garland of flowers, alternating with floral plants at the bottom; the hinged lid with push-button is decorated in the center with the crowned numeral "ML" in cursive, on a background of a semiset of gilded stars, inside in purple silk velvet. Circa 1820-1825. L. 11.2 cm (handle folded) ; 20.5 cm (handle unfolded) x 4.2 cm. Provenance - Marie-Louise of Austria, Empress of the French and Duchess of Parma (1791-1847). - Rothschild Collection. History In the 19th century, theatrical binoculars were undoubtedly the essential fashion accessory that people took with them to the theater or the opera, to correct failing eyesight but above all to be able to observe in detail the dancers or actors performing on stage. It was during the Age of Enlightenment that the art of opera was particularly developed and that the spyglass made its appearance; it was then a worldly object, richly decorated, often adorned with precious materials, and supplied as much by renowned opticians as by goldsmiths. The development of opticians under the Empire With the wars of the Revolution and Empire, optical instruments gained in precision but remained a luxury item. Napoleon turned mainly to Noël-Jean Lerebours (1762-1840), the first French optician to compete with the English in this field, winning a prize at the 1806 Salon for his telescopes and other optical instruments. In his Catalogue et prix des instruments d'optique, de physique, etc., we find, alongside field spotting scopes, models with smaller lenses for civilian use. The Lerebours company boasts that it was behind their manufacture, calling them "Lerebours telescopes". The daily care of the Emperor's optical instruments was entrusted to a man he trusted, such as his Mamluk, Roustam, who was trained for this task by Lerebours himself, author in 1805 of Instructions sur la manière de nettoyer les verres des lunettes. Optician Chevallier, a former supplier to the Court of Versailles, and goldsmith Bapst were among the Emperor's household suppliers. Empress Marie-Louise, who attended shows at least twice a week, was also a great lover of these lorgnettes, which she used and sometimes gave to her close circle of friends. Lemière, inventor of theatrical binoculars Although sighting lorgnettes reached the height of their popularity under the First Empire, they were superseded by theatrical binoculars under Charles X. It was the optician Lemière, who had his store in the Palais Royal, who seems to have first perfected the double-lorgnette system, by inserting a mechanism between the two arms to adjust the view. By 1818, Lemière was already offering a number of curious instruments, such as faceted crystal theater lorgnettes and watch-shaped lorgnettes already fitted with a mechanism. As early as 1823, he disputed this invention with his colleague Bautain, before registering his patent in 1825 and retaining the monopoly on the marketing of theater binoculars for several more years. Several high-profile lawsuits with the spectacle manufacturers Derepas and then Siegler led to the loss of this invention's exclusivity shortly before 1830, while at the same time generating widespread publicity among theater and opera-goers. Marie-Louise, patroness of the arts Having become Duchess of Parma after the fall of the Empire in March 1816, Marie-Louise maintained her role as patron of the arts and the performing arts throughout her reign. Particularly fond of music, she had the Farnese Theatre refurbished and the Ducal Theatre of Parma, now the Teatro Regio, built from 1821 to 1829. At the same time, in the 1820s, she created the Parma Conservatory and supported young composers, among whom Bellini, Toscanini and Verdi distinguished themselves at her Court. The accounts of the royal household show that the Duchess remained attached to the French luxury she had supported under the Empire, and continued to call regularly on suppliers from the French capital. It is highly likely that it was in lisa

French school of the 19th century. Portrait of a young woman. Oil on canvas, the canvas supplied by Carpentier et Deforge. H_42,5 cm L_32 cm

LOUIS XVI, ROI DE FRANCE (1754-1793) - Rare soft porcelain cookie medallion, with the right profile of King Louis XVI, the pearled border. Good condition. Manufacture royale de Sèvres, 18th century. In a rectangular blackened wood frame, gilded brass strapping. Inscribed on the back in Latin ink: "Ludov(icus) XVI / Rex bonus et juilius / 21 janu 1793 /Cuidit insons". D. 6 cm (at sight).

Flemish school circa 1600, entourage of FRANCKEN Balthazar's Feast OIL on parquet panel City of Antwerp mark on back 85 x 116 cm 19th century molded and gilded wood rod

Lucien HOCK (1899-1972) - Lucien HOCK (1899-1972) "Jeunes filles en fleur" (Young girls in bloom) Painting on glass signed lower right and dated 1950. Dimensions: 40 x 30 cm

Robert LEFÈVRE (1755-1830), suiveur de. - Bust portrait of Napoleon I in coronation costume. Oil on canvas. H. 65 x L. 54 cm. In a gilded wood frame. History A former pupil of the painter Regnault, Robert Lefèvre had earned a reputation as a portraitist through the Salons where he exhibited as early as 1791. At the time, he was particularly appreciated by his contemporaries for the resemblance he gave to his models and the precision of the details and decorations in his works. Thanks to the protection of Denon, then director of the Beaux-Arts and Musée du Louvre, Robert Lefèvre became one of the main suppliers to the Emperor's household, executing over forty large-scale portraits of the Emperor in full coronation costume or uniform, as well as of the Empress. These commissions were destined for the Grand Corps de l'Etat and imperial palaces in France and abroad. The painter also supplied the Grand Chamberlain's gift department with numerous miniatures of the Emperor, to decorate snuffboxes and watches given as diplomatic gifts. The uneven quality of some replicas could be criticized, notably for the somewhat frozen appearance of the model, a fault that can be explained by the enormous output of the painter's studio; but it should be noted that all official portraits were intended by the painter himself. Nevertheless, Robert Lefèvre remained highly regarded by the Emperor, who is said to have appreciated the resemblance of his portraits and, no doubt, the absence of tedious breaks. On the strength of this favor, the artist worked extensively for the imperial family, in particular Princess Pauline, Lucien and the Clary family, and of course Madame Mère, who commissioned several large-scale portraits from him. Our bust portrait of the Emperor shows him in coronation regalia, wearing his red coat with golden bees and the large collar of the Légion d'Honneur on his ermine. This could be a study of the modelo used in Robert Lefèvre's workshop to produce the numerous replicas commissioned by the French state. Among the many commissions made to the artist, it is difficult to distinguish in the archives between portraits of the Emperor in coronation costume and those in uniform. However, it seems that 18 versions in imperial garb were produced, notably for Letizia and Joseph Bonaparte. At least one replica, without the gold laurel wreath, was made for Marshal Soult. Like the uniformed versions, a bust portrait was painted by the artist to serve as a model for the replicas, or presented to the studio's students for copying practice. Related works - Napoleon in coronation costume. 1806. Salon of 1806. The artist's first commission for the Salle de réunion du Sénat (location unknown). - Napoleon in coronation costume (uncrowned). 1807. Château de Soultberg, family of Marshal Soult. - Napoleon in coronation costume. 1807. Provenance Madame mère, then by descent Bathilde Bonaparte, comtesse de Cambacérès, Musée de la Légion d'Honneur. - Napoleon in coronation costume. 1808. Presumed to have come from Joseph Bonaparte, now at the Maison d'éducation de la Légion d'Honneur in Saint-Denis. - Napoleon in coronation costume. 1809. Commissioned for the Château de Fontainebleau, Mme Tussaud's collection, now defunct. - Napoleon in coronation costume. 1809. Purchased in 1949 by the Musée de la Légion d'Honneur. - Napoleon in coronation costume. 1811. Musée de Versailles, MV 5134. Commissioned by the Corps législatif, for the Palais Bourbon, in 1811; Salon of 1812, no. 779 (ill. 1). - Napoleon in coronation costume. 1813. Sotheby's London sale, July 9, 2015, lot 105, copy of Madame Mère, Sir Steward collection in 1816. Literature J.-P. Samoyault (art.), Le portrait de Napoléon par Robert Lefèvre, in "Un Palais pour l'Empereur, Napoléon à Fontainebleau", ed. by Jean Vittet. Exhibition September 2021 - January 2022.

Jean GOFFART (1939) HST - Jean GOFFART (1939) "Young girl with cat Oil on canvas signed lower right, countersigned, dated 1981 and titled on back Dim: 50 x 40 cm

Boris PASTOUKHOFF (1894-1974) - Boris PASTOUKHOFF (1894-1974) "Elegant" ( 1931 ) Oil on canvas, signed. Dimensions: 116 cm x 89 cm

Englebert VAN ANDERLECHT (1918-1961) - Englebert VAN ANDERLECHT (1918-1961) Composition. Mixed media (ink - pastel - charcoal) on paper, signed on the back and dated 1958. Dimensions: 63 cm x 48 cm Provenance : Collection of Mr and Mrs M.Bruxelles, acquired from the artist.

LOUIS-JOSEPH DE FRANCE (1781-1789) - Beautiful engraving titled "Le bal masqué - Fêtes données au Roi et à la Reine, par la ville de Paris, le 23 janvier 1782 à l'occasion de la naissance de Monseigneur de le Dauphin", son of Louis XVI and Marie-Antoinette. By Jean Michel Moreau (1741-1814), and "Invented by P.L. moreau (Desproux) Chev. de l'ordre du roi, architexte de sa majesté Mtre général des Bâtimens de la ville en 1782". 18th century. H. 53 x L. 42 cm (board cut).

18th century school. Portrait of an Apostle. Oil on canvas. Inscription "Velasquez" on reverse. H_ 73 cm W_55 cm (frame) H_46 cm W_35 cm (medallion). In an antique gilded wood frame.

Jean-Baptiste ISABEY (Nancy, 1767-Paris, 1855), atelier de. - Sketch after "Bonaparte, Premier consul, à Malmaison". Watercolor and pencil on paper pasted on cardboard (unfinished). Circa 1802. Inscribed upper right: "la coudée de l'habit" (?). H. 22 x W. 17.5 cm. History Our work is a rare pencil and watercolor drawing of Jean-Baptiste Isabey's composition of the First Consul Bonaparte in the gardens of Malmaison. A major work by the painter and a great success at the Salon of 1802, this drawing depicts the future emperor with his hand in his vest in the peaceful setting of Malmaison. In Edmond Taigny's book, J.-B. Isabey: sa vie et ses œuvres, he clearly indicates that alongside the painter's capital productions coexist a "series of secondary works of pencil strokes enhanced with watercolor". Isabey pioneered the use of watercolor and cardboard as a medium. Our drawing is thus part of this production by the artist and his studio. Related works - Jean-Baptiste Isabey, Bonaparte, Premier consul, à Malmaison, Musée national des Châteaux de Malmaison et de Bois-Préau, inv. RF1870; RF1065 (ill. 1). - Jean-Baptiste Isabey, Le Premier Consul Bonaparte en pied en uniforme dans les jardins du Château de Saint-Cloud, after Le Premier Consul Bonaparte dans les jardins de la Malmaison, pencil and wash sketch, Osenat sale, March 22, 2021, lot 81 (sold for €10,625). Literature Edmond Taigny, J.-B. Isabey : sa vie et ses œuvres, E. Panckoucke, 1859, Paris, pp. 53-54.

Ecole Flamande du XIXe siècle. - Interior scene. Oil on canvas. Dimensions: 26 x 34.5 cm

École française de la fin du XVIIIe siècle. - Colored etching, captioned "Ah! Vive la Liberté" or "La Prise de la Bastille". Unsigned, circa 1789. H. 21.7 x W. 16 cm.

Late 18th century Italian school Rolland discovering Alexander's tomb. Oil on canvas, 32 x 90 cm Paint skip.

Adrien DUPAGNE (1889-1980) - Adrien DUPAGNE (1889-1980) Double painting "Young Spanish Girl" and "The Kitchen". Oils on panel, both sides signed upper right. Beautiful carved wood frame (chipping). Dimensions : 58 cm x 44 cm

James GILLRAY (1756-1815) - "James GILLRAY (1756-1815) "The hand writing upon the wall - La main écrivant sur le mur" (The hand writing upon the wall) Rare original etching with polychrome watercolor highlights. Napoleon's orgy depicted is a reprise of Balthazar's feast in chapter 5 of the Book of Daniel: the hand emerging from a cloud traces on the wall the same Hebrew phrase "Mene, mene, tekel. Upharsin", a riddle foretelling the fall of Babylon. The young emperor is shown stunned by the omen, while the entourage enjoys the abundance of food, captioned "Tower of London", "Saint James", "Bank of England", "Roastbeef of old England", etc. Josephine is obese and drinks greedily, the Emperor's sisters in the background are wanton. Another hand holding a scale foreshadows the King's return. Published August 24, 1803, London, St James Street, 27. H. 26.5 x W. 37 cm. History A caricaturist of genius, James Gillray was England's most renowned satirical artist from the 1780s until his eyesight failed him completely around 1810, precipitating his death in despair. He was nicknamed the father of political caricature, and in his day was distributed not only in the UK, but throughout Europe. He owed his success to his technical quality, composition and drawing, as well as to his wit, which never spared anyone. The Encyclopaedia Britannica (11th edition, 1910) describes him as follows: "he attacked (...) with acerbic satire, and nothing escaped his notice, not even the slightest fashion detail on a dress. The great tact of Gillray's work, which struck any subject as ridiculous, was matched only by the exquisite line of his drawings, the best of which are, in their conception, worthy of the sublime poetry of John Milton". While social phenomena were also his favorite subjects, he is eminently renowned for his caricatures of purely satirical or rather conservative-minded politics with regard to the French Revolution and its aftermath, which he published in the - unequivocal - "Anti-Jacobin Review". His sovereign George III, Minister Pitt and Napoleon Bonaparte were also victims of his art, but the destiny of the Corsican general concerned and worried so many that Gillray's works found a favorable audience in many parts of Europe. The artist was inspired by political chronicles, as in "La Nonchalance allemande" or "Les Délires d'un fou ou Petit Bony en pleine forme", but here the work is less anecdotal, the expression of a profound rejection of what Bonaparte represents, of his growing danger to England, and even more generally, the expression of a right intuition predicting the downfall after a meteoric rise. Related works - James GILLRAY, "The plumb-pudding in danger or State epicures taking a Petit Souper", Bloomsbury sale, London, June 25, 2015, lot 51 (sold for £18,600). - "Maniac-raving's-or-Little Boney in a strong fit" ("Les Délires d'un fou ou Petit Bony en pleine forme"), 1803, The British Museum (inv. 1868,0808.7120). - "Boney & Talley - The Corsican carcase-butcher's reckoning day" ("Bony & Talley - le boucher corse fait le compte des carcasses"), 1803, The British Museum (inv. 1851,0901.1126). - German Nonchalence, or the Vexation of Little Boney", 1802, private collection.

" La Sainte famille avec Saint Jean-Baptiste enfant" - 18th century French school. "The Holy Family with Saint John the Baptist as a Child". Oil on canvas. Dimensions: 136 cm x 105 cm Old restorations

George CRUIKSHANK (1792-1878), d’après Ivan TEREBENIOV (1780-1815). - "Napoleons Fame - La Gloire de Napoléon" (Napoleon's Fame) Original engraving with polychrome watercolor highlights whose image is inspired by an engraving by Ivan Terebeniov and repeating his caption and description "Попалась впросак!". Русской солдат штыком снял с нее маску, Козак нагайкою все венцы ее лавровые отхлестал, а Вавила Мороз и огромную трубу ее заткнул снегом - Here you are taken! The soldier removes his mask with his bayonet, the Cossack destroys the laurel wreath with his nagaika, and the peasant Vavila Grandfroid plugs his great trunk with snow." Napoleon's glory is depicted in a winged female body, dressed in a bee-patterned garment and standing on a pile of human bones; beneath the mask appears a demon's face, whose tail appears beneath the garment; on the left, her hand holds the tattered laurel wreath, vigorously struck by the Cossack, on the right are the Russian soldier and the peasant who mischievously prepares his pieces of snow. Publication dated May 18, 1813, by H. Humphrey, London, St James Street. H. 26 x W. 37 cm.

LOUIS XVI, ROI DE FRANCE (1754-1793) - Etching titled "Le sacre de Louis XVI. Estampe allégorique". By Louis-Joseph MASQUELIER (1741-1811) and François Denis NEE (1732-1817), after Charles MONNET (1732-1817). Annotation "Champagne n°1" lower right. H. 37 x L. 28 cm (board cut). Related work Louis-Joseph Masquelier (1741-1811) and François-Denis Née (1732-1817), after Charles Monnet (1732-1817), "Allégorie gravée à l'occasion du Sacre de Louis XVI", 1774, Bibliothèque nationale de France. History Louis-Joseph Masquelier, born in northern France, moved to Paris to perfect his engraving skills in the workshops of Jacques-Philippe le Bas. There, he met François-Denis Née, with whom he became very close and with whom he collaborated throughout his professional life. On June 11, 1775, Louis XVI was crowned King in Reims Cathedral, following a tradition dating back to the time of Pepin the Short. On the print, the future King Louis XVI is about to be united with France, represented by Marie-Antoinette. He is led to her by Minerva, goddess of wisdom. He is accompanied by the peers of the kingdom, dressed in purple and ermine. For his part, Louis XVI wears the characteristic blue coronation coat lined with ermine. With the coronation, the King of France becomes a lay bishop. The figure of Religion observes the scene from heaven, holding a chalice, doubtless filled with the wine of communion, reserved for priests and the King himself. This figure establishes the king's legitimacy by presenting him as the worthy representative of the kingdom according to God's will.

French school of the second half of the 19th century. Animated landscape. Oil on canvas, in a wood and gilded stucco frame. H_38 cm L_55 cm

ESCUELA ESPAÑOLA, S. XVII - Head of St. Peter (fragment) . Oil on canvas. With frame in gilded and polychrome wood. Size: 36 x 24 cm Size frame: 52 x 64 cm

École française de la fin du XVIIIe siècle. - Colored etching featuring Henri IV and Sully, titled "Vive le Roi, Vive la Nation - J'Savoit ben qu'j'aurions not tour - A faut esperer qu'ca finira ben tot". Stains. Unsigned, circa 1789. H. 25.5 x L. 33 cm.

Cécile MERSCH (1905-1993) - Cécile MERSCH (1905-1993) "Landscape" Oil on panel signed lower right. Dimensions: 38 cm x 54 cm

George CRUIKSHANK (1792-1878), d’après Alexeï Gavrilovitch VENETSIANOV (1780-1847). - "A Russian Boor returning from his field sports - Guerrier russe revenant de la chasse". Original engraving with polychrome watercolor highlights whose image is inspired by an engraving by Alexeï Venetsianov and repeating its caption and description: "Для куриозу ребятишкам бирюлек принес - Brought back trinkets to amuse little children". The man has on his rifle and bayonet French soldiers, hanging like partridges after a hunt. The original Russian drawing dates from 1812, and a copy can be found in the Battle of Borodino Museum. This English version was published on January 8, 1813, by H. Humphrey in London, St James Street. H. 20.5 x W. 25.5 cm.

ESCUELA ESPAÑOLA, S. XVII - Christ in the storm on the Sea of Galilee . Oil on canvas. The composition is based on Pieter Brueghel the Elder's copper of the same subject. Size: 70 x 112 cm

Jeune fille au panier fleuri. - French school of the 18th century. Young girl with flower basket. Oil on canvas. Old restorations. Dimensions: 70 cm x 55 cm Provenance : Label on the back : Ancienne Collection de Kerkhove, Liège

ESCUELA ESPAÑOLA, S. XVII - Virgin of silence . Oil on canvas. Compare with the painting by Angelino Medoro "Holy Family with St. John the Baptist and Dominican Saint" (1622) which is kept in the Museum of Fine Arts in Seville. Size: 163 x 113 cm

ILLEGEMS FREDDY - Flemish classics Oil on canvas. Huile sur toile Get. Sig. 1989 150 x 100 cm

George CRUIKSHANK (1792-1878), d’après Ivan TEREBENIOV (1780-1815). - "A peasant carrying off a French cannon into the Russian camp whilst the enemy had left it to go marauding in the village". Original engraving with polychrome watercolor highlights, inspired by an engraving by Ivan Terebeniov and using his legend. In the distance, a few small isbas and peasants fighting against soldiers of the Grande Armée, in front of which the peasant sets off the horses firing the cannon at full gallop. Publication dated June 8, 1813, by H. Humphrey, London, St James Street. H. 26.5 x W. 37 cm.

George CRUIKSHANK (1792-1878), d’après Ivan TEREBENIOV (1780-1815). - "Review of the French Troops on their returning march through Smolensk - Revue des troupes françaises à leur retour de Smolensk" Original engraving with polychrome watercolor highlights whose image is inspired by an engraving by Ivan Terebeniov and repeating his caption and description "Хотя одеты некрасиво да тепло: а это главное дело!... Гамбурск корресп. (...) письмо из Варшавы от 14 нояб. - They're poorly dressed, but warmly, and that's the main thing! Corresp. from Hamburg (...) letter from Warsaw of November 14." Napoleon is depicted as tiny in comparison with the others, despite his makeshift pedestal, with gout in his nose, his emaciated horse trembling on ice skates, and the troops in dilapidated outfits. We can make out rare remnants of their uniforms; one is missing a shoe, another has improvised a loincloth, and some are wearing barrels as headdresses. Publication dated May 27, 1813, by H. Humphrey, London, St James Street. H. 30 x W. 40 cm.

Friedrich Edouard MEYERHEIM HSP - Friedrich Edouard MEYERHEIM (1808-1879) "Children cooking on the doorstep". Oil on panel signed and dated 1867 lower right Small scratches Size: 29 x 23 cm

ESCUELA FRANCESA S. XIX - Oil on canvas. 76x64cm

George CRUIKSHANK (1792-1878), d’après Ivan TEREBENIOV (1780-1815). - "French post Extraordinary from Moscow to Paris - Le courrier extraordinaire de Moscou pour Paris". Original engraving with polychrome watercolor highlights, inspired by an engraving by Ivan Terebeniov and based on his legend. Escorted by two imperial eagles mounted by soldiers sounding their horns, a donkey with winged hooves carries the Emperor and four of his officers, behind which two soldiers cling to the tail, begging to be taken with them. Also captioned in German. Publication dated March 26, 1813, by H. Humphrey in London, St James Street. H. 29.5 x 43 cm.

George CRUIKSHANK (1792-1878), d’après Alexeï Gavrilovitch VENETSIANOV (1780-1847). - "Boney hatching a bulletin or Snug Winter Quarters - Bony dictating a bulletin or snug winter quarters". Rare original etching with polychrome watercolor highlights, inspired by an engraving by Alexei Venetsianov. Of the Grande Armée, only the tips of the headdresses with the revolutionary cockades are visible, the rest being covered in snow: We have got into comfortable Winter quarters, and the weather is very fine & will last 8 days longer (...) grilld bears fine eating (...) say whe shall be at home at Xmas to dinner (...) don't let John Bull know that I have been cow poxed, tell a good lie about the Cossacks, D-n it tell any thing but the truth - We've arrived from comfortable winter quarters, the weather is excellent & will last 8 days longer (...) grilled bear eats well (...) say we'll be there for dinner at Christmas (...) don't let John Bull know I've had smallpox, find a good lie to tell about the Cossacks, and, damn it, tell any thing but the truth". A copy of the original Russian drawing is in the Battle of Borodino Museum, this English version was published in December 1812, by Walker & Knight Sweetings Alley Royal Exchange. H. 27 x W. 40 cm.

ESCUELA NAPOLITANA SS. XVII-XVIII - Oil on canvas. 47.5x65cm

ESCUELA MADRILEÑA, SEGUNDA MITAD DEL S. XVII - St. Isidore feeding the pigeons . Oil on canvas. Size: 112 x 139 cm Interesting and unusual representation of San Isidro feeding wheat to the pigeons when he was going to the mill. In the background you can see a bridge over a river and a chapel at the top, probably the Manzanares River and the Chapel of the Saint.

Scuola italiana del sec. XIX - 19th-century Italian school. Peasant woman with basket of fruit, with frame. Oil on canvas. cm63x50

Lot de 2 gravures sur la famille d’Orléans : - - Portrait of Louis, Duc d'Orléans, known as "le Pieux" (1703-1752), by P. Drevet, after Coypel, surmounting his coat of arms. Stains. 18th century. H. 27 x W. 20.5 cm. - Portrait of Louis Philippe Joseph (1747 - 1793), Duc d'Orléans known as "Philippe Égalité", enhanced, by Fiesinger "after the wax model made by M. Couriguer". Circa 1789. H. 27 x L. 21 cm.

ESCUELA ESPAÑOLA S. XIX - Oil on canvas. Work traditionally attributed to Vicente López Portaña. It is also proposed that it is the work of José de Madrazo y Agudo (painted at the age of 40 before becoming Director of the Prado Museum) or Rafael Tejeo, as the resource of the head outline is characteristic of this author although it is in He is dimmer and their faces are somewhat flatter than that of Doctor Terrers. This work is characteristic of Spanish neoclassicism: unguarded background, frugal costumes, head and face highlighted by a halo of back light. 121x89cm

ESCUELA ESPAÑOLA, S. XVII (Círculo de Francisco Antolínez) - The devil and the woman . Oil on canvas. Size: 26,5 x 40 cm

ESCUELA ESPAÑOLA, S. XVII - Saint Christopher . Oil on canvas. Size: 79 x 60 cm

ESCUELA FLAMENCA S. XVII - Oil on canvas. 70x55cm

ESCUELA DE VERONA, S. XVII - Penitent Mary Magdalene . Oil on slate. Composition based on the "Penitent Magdalene" by Titian. Size: 22,5 x 1 x 16,5 cm.